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Time’s Echo: The Second World War, the Holocaust, and the Music of Remembrance. Jeremy Eichler. New York, NY: Alfred A. Knopf. 2023.
Reviewed by Karen Painter
Jeremy Eichler makes a passionate case that as we approach a world without living memory of the Holocaust, there is an “ethical imperative” to attend to “musical memorials” which summon “our commitment to witness” (pp. 174–175). Written when Eichler was classical music critic for the Boston Globe, Time’s Echo bears the fruits of his profession everywhere in eloquent and astute description of music that matters deeply to him. A historian who wrote his dissertation on Schoenberg’s A Survivor from Warsaw, Eichler undertakes the ambitious task of showing how music became so important to German Jews, which finds him starting his story in the Enlightenment, tracing the ideal of Bildung (cultivation) across Central European history. The book’s subtitle notwithstanding, we arrive at World War II only in chapter four out of ten.
Read the rest of this entry »Leonard Bernstein in Context. Edited by Elizabeth A. Wells. Cambridge: Cambridge University Press. 2024.
Reviewed by Zane Larson
Leonard Bernstein in Context, edited by Elizabeth A. Wells, is a new publication in the “Composers in Context” series from Cambridge University Press. It joins the company of texts covering canonical figures in the Western tradition such as Mozart, Mahler, and The Beatles. Thirty-six scholars examine wide-ranging topics in the cultural and political histories of Bernstein’s life and work, such as his Jewish upbringing, his involvement in civil rights, West Side Story, and his famed Young People’s Concerts. The collection provides readers with short and concise chapters attuned to the multi-faceted scholarly conversations surrounding Bernstein’s fame, well-documented life as a pianist, conductor, composer, educator, and cultural ambassador, and his ubiquity in musicological research.
Read the rest of this entry »Music of Exile: The Untold Story of the Composers Who Fled Hitler. Michael Haas. New Haven, CT: Yale University Press. 2023.
Reviewed by Dr. Alexandra Birch
Michael Haas’s new book is an expansion of his earlier work on Forbidden Music: The Composers Banned by the Nazis (Yale University Press: 2013) critically reconsidering different modalities of “exile” and the impact of exile on musical composition. Rather than a simple look at only those composers who fled to the United States, Haas engages with larger issues in the historiography of the Holocaust, like the material and financial ability to flee, the change in the perceived danger of Hitler across the 1930s, and how far was far enough to escape the war. Haas also complicates our understanding of those composers who remained in Europe, addressing the spectrum of complicity that they employed in order to continue working in occupied Europe. One of the strengths of the book is Haas’s experience both in performance and the humanities, where he elegantly puts the aesthetics of music in dialogue with Nazi racial and political strictures, emphasizing that denunciation and danger could be on both fronts with “Jewish” music and or a Jewish racial identity. The writing about music never feels cumbersome and is accessible to historians and musicians alike.
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Musica Judaica Online Reviews 